By NORMAN WEINSTEIN
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Let's be clear from the start: this discovery of a new Monk/Coltrane live concert completely puts to shame the over-hyped Five Spot CD from years ago. Not only is the sound as sterling and clear as the sound on the Five Spot date was excretory, but the performances of the stars are light years beyond that muddy recording.
There is a sense that both Monk and Coltrane knew they were going to make history in 1957 at Carnegie Hall, and it's palpable from the opening notes of 'Monk's Mood. Monk sounds grandly baroque in summoning grandly cascading arpeggios from his piano (which sounds infinitely better than the junk pianos he was often saddled with), while Coltrane sounds immensely assured.
To really savor Coltrane's performances, begin by listening to the studio session with Monk currently listed in the Fantasy catalog (Thelonious Monk With John Coltrane). Then listen to the Five Spot recording, and then this new discovery.
During the studio date, Coltrane sounds remarkably reserved, perhaps too star-struck still, as he was on his session with Duke Ellington, to do very much but hang on for the ride. The Five Spot recording has Coltrane sounding looser, particularly on 'In Walked Bud, but the recording sounds like it was recorded at the wrong end of a mine shaft, and much of what Coltrane played has to be imagined. Coltrane at Carnegie Hall with Monk is a man certain of his own voice while not afraid of showing his roots, clear-thinking, wonderfully focused, in tune with Monk's logic, simpatico with the rhythm section. A case could be built that this is the finest Coltrane recording before the historic Atlantic and Impulse sessions.
High points among Coltrane's solos abound, but my favorites are on 'Nutty, with some wild cross-conversations between Coltrane and Monk going on, and 'Sweet and Lovely, which Coltrane gooses into a galloping romp, clearly revealing his roots in early Dexter Gordon. The only dull patch for me is his lackluster accompaniment to 'Crepuscule With Nellie, which was never about Coltrane anymore than Nellie was. It was Monk's showcase, regardless of who accompanied him.
On to Monk. After the grand opening gestures, he continues with buoyant, hyper-kinetic interpretations of 'Evidence, 'Epistrophy' (two versions, the complete one perhaps the better of the two for Monk, the incomplete one more of a Coltrane showpiece), and 'Blue Monk. Very familiar fare, but toyed with harmonically and rhythmically as only Monk could do on a good night, and this was. Drummer Shadow Wilson was no Art Blakey, whom I always thought of as Monk's most apt drummer, but he respectably kept the band churning, along with rock-steady bassist Ahmed Abdul-Malik.
The only flaw, and a minor one at that, is the heavy set of liner notes by five different hands. Only Lewis Porter really says something that deepens appreciation of this lovely recording. Amiri Baraka and Stanley Crouch pass beyond self-parody. I suggest that their future liner notes be published as e-books, though even that format might not accommodate their stadium-sized egos.
This is, though Woody Allen hated the phrase, 'jazz heaven.
There is a sense that both Monk and Coltrane knew they were going to make history in 1957 at Carnegie Hall, and it's palpable from the opening notes of 'Monk's Mood. Monk sounds grandly baroque in summoning grandly cascading arpeggios from his piano (which sounds infinitely better than the junk pianos he was often saddled with), while Coltrane sounds immensely assured.
To really savor Coltrane's performances, begin by listening to the studio session with Monk currently listed in the Fantasy catalog (Thelonious Monk With John Coltrane). Then listen to the Five Spot recording, and then this new discovery.
During the studio date, Coltrane sounds remarkably reserved, perhaps too star-struck still, as he was on his session with Duke Ellington, to do very much but hang on for the ride. The Five Spot recording has Coltrane sounding looser, particularly on 'In Walked Bud, but the recording sounds like it was recorded at the wrong end of a mine shaft, and much of what Coltrane played has to be imagined. Coltrane at Carnegie Hall with Monk is a man certain of his own voice while not afraid of showing his roots, clear-thinking, wonderfully focused, in tune with Monk's logic, simpatico with the rhythm section. A case could be built that this is the finest Coltrane recording before the historic Atlantic and Impulse sessions.
High points among Coltrane's solos abound, but my favorites are on 'Nutty, with some wild cross-conversations between Coltrane and Monk going on, and 'Sweet and Lovely, which Coltrane gooses into a galloping romp, clearly revealing his roots in early Dexter Gordon. The only dull patch for me is his lackluster accompaniment to 'Crepuscule With Nellie, which was never about Coltrane anymore than Nellie was. It was Monk's showcase, regardless of who accompanied him.
On to Monk. After the grand opening gestures, he continues with buoyant, hyper-kinetic interpretations of 'Evidence, 'Epistrophy' (two versions, the complete one perhaps the better of the two for Monk, the incomplete one more of a Coltrane showpiece), and 'Blue Monk. Very familiar fare, but toyed with harmonically and rhythmically as only Monk could do on a good night, and this was. Drummer Shadow Wilson was no Art Blakey, whom I always thought of as Monk's most apt drummer, but he respectably kept the band churning, along with rock-steady bassist Ahmed Abdul-Malik.
The only flaw, and a minor one at that, is the heavy set of liner notes by five different hands. Only Lewis Porter really says something that deepens appreciation of this lovely recording. Amiri Baraka and Stanley Crouch pass beyond self-parody. I suggest that their future liner notes be published as e-books, though even that format might not accommodate their stadium-sized egos.
This is, though Woody Allen hated the phrase, 'jazz heaven.
Chase amie. Track Listing: Monk's Mood; Evidence; Crepuscule With Nellie; Nutty; Epistrophy; Bye-Ya; Sweet & Lovely; Blue Monk; Epistrophy (incomplete).
Personnel: Thelonious Monk: piano; John Coltrane: tenor saxophone; Ahmed Abdul-Malik: bass; Shadow Wilson: drums.
Title: At Carnegie Hall | Year Released: 2005 | Record Label: Blue Note Records
About Thelonious Monk
Articles | Calendar | Discography | Photos | More..Tags
Thelonious Monk Quartet with John Coltrane at Carnegie Hall | ||||
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Live album by | ||||
Released | September 27, 2005 | |||
Recorded | November 29, 1957 | |||
Genre | Jazz | |||
Length | 51:49 | |||
Label | Blue Note | |||
Producer | Michael Cuscuna, T.S. Monk (restoration) | |||
Thelonious Monk chronology | ||||
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At Carnegie Hall is a live album by The Thelonious Monk Quartet with John Coltrane.
Album information[edit]
It was recorded on 29 November 1957 at 'Thanksgiving Jazz', a benefit concert produced by Kenneth Lee Karpe for the Morningside Community Center in Harlem. Other acts performing included: Billie Holiday, Dizzy Gillespie, Ray Charles, Sonny Rollins, and Chet Baker with Zoot Sims. The recording, by Voice of America, documents two sets by the Monk Quartet with Coltrane that night – an early set (tracks 1-5) and a late set (tracks 6-9), which the recording does not fully document.
The tape was stored at the Library of Congress where it sat untouched, until 2005 when it was discovered by recording lab supervisor Larry Appelbaum. The recording was then restored by producer Michael Cuscuna and T.S. Monk (Thelonious Monk's son).
Reception[edit]
Professional ratings | |
---|---|
Review scores | |
Source | Rating |
Allmusic | [1] |
All About Jazz | (favourable)[2] |
Robert Christgau | (A)[3] |
Rolling Stone | [4] |
The recording has been highly praised: Newsweek called it the 'musical equivalent of the discovery of a new Mount Everest,' and Amazon.com editorial reviewer Lloyd Sachs called it 'the ultimate definition of a classic'. Soon after its release, it became the #1 best selling music recording on Amazon.com.
Carnegie Hall Seating Chart
The discovery substantially increased coverage of Monk and Coltrane's partnership; the only other recordings known are from 4 sessions that took place in April, June and July of 1957 and originally issued on Thelonious Monk with John Coltrane, Monk's Music and Thelonious Himself. Additionally, Discovery! believed to document a reunion at the Five Spot café in 1958, recorded on amateur equipment by Coltrane's first wife.
Thelonious Monk Coltrane Carnegie Hall
Track listing[edit]
All tracks composed by Thelonious Monk unless otherwise noted.
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- 'Monk's Mood' – 7:52
- 'Evidence' – 4:41
- 'Crepuscule With Nellie' – 4:26
- 'Nutty' – 5:03
- 'Epistrophy' (Monk, Kenny Clarke) – 4:29
- 'Bye-Ya' – 6:31
- 'Sweet and Lovely' (Gus Arnheim, Harry Tobias, Jules LeMare) – 9:34
- 'Blue Monk' – 6:31
- 'Epistrophy' (incomplete) – 2:24
Personnel[edit]
- Thelonious Monk – piano
- John Coltrane – tenor saxophone
- Ahmed Abdul-Malik – bass
- Shadow Wilson – drums
References[edit]
- ^Allmusic review
- ^All About Jazz review
- ^Christgau, Robert. 'Consumer Guide: Thelonious Monk Quartet with John Coltrane at Carnegie Hall'. The Village Voice: December 27, 2005. Archived from the original on 2009-09-01.
- ^Rolling Stone review
![Hall Hall](/uploads/1/2/6/1/126136915/206199930.jpg)
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